This did not get off to a good start.
On the evening of Day One, Jim and I growled at each other, because I snapped at him through sheer tiredness. We have two guests, which is upsetting Jim's routine. Then the following morning (day two of the show) my brother turned up unannounced at our home, was his usual rude, thoughtless self and upset Jim further. My brother also exhausted my aunt (one of my guests) and he is likely to turn up again on day three, and upset people again. So I have a stressed household.
Darren and I went by train to RAWLabs to steward the show. I had been told by the venue organisers that stewarding would not be necessary, but I wanted to be there. They were right. There were only 2 visitors all day, partly because it is the bank holiday weekend. I could have done this by myself. However, it is part of my learning to attend.
Darren and I will steward day 3, because I know some friends have planned to attend.
Sunday 25 August 2019
Saturday 24 August 2019
First day of show
The show went off as well as I could really have expected.
Darren and I travelled down by public transport. As we left Gallions Reach, we put up posters and direction arrows from the station to the venue, mostly on street furniture. I suspect other exhibitors had done this before us, because we could see the previous sellotape marks.
Our friends Bob and Marion were first to arrive, spot on midday when the venue opened (they were going on holiday later that day) and found the posters useful to find the venue. Jim arrived with my Aunt Doreen and cousin Allison, then my friend Liz from art class, and we all started with lunch in the cafe downstairs.
Katie, the venue administrator/cafe operator, came upstairs and had a look at the work and was complimentary about the layout. This was somewhat a relief. When I've worked so continually at something, I get to the stage where I don't know whether it's any good or not.
It got to 2pm and no-one else had arrived and I was getting a little worried about when more people would arrive Then I saw people coming up the stairs ... and it was friends I had not seen for 30 years - who I knew when I went to church! I welcomed them, and then it seemed like a constant stream of people I knew, from church, Girls Brigade, university, former tutors, City Lit, poetry class, friends and family. I clocked the assessor arrive, when I was talking to a group, so I did not go to greet him then, as it felt rude to leave my friends, but by the time I could disengage, he was obviously engrossed. I felt it was rude not to engage with him (I definitely treated him differently to everyone else!) but my instructions were not to engage with him, and he was clearly assessing the work. Every piece of work was inspected really closely. So I left him to get on with it.
Some artists/academics who I REALLY respect were present. Caroline Bartlett, Linden Reilly and Vanda. OH-MY-WORD. The look on their faces said it all. I've finally got the staging right (!!!) and my work is carrying its message. It was so fantastic to see these brilliant people and the look on their faces. They were all taken with the last sampler, Manual Worker Woman, with the quality of the stitching, particularly the colour blending and very fine running stitch and industrial marks. I found this surprising as I was not particularly struck with it, and thought I had over-worked it. But Vanda said it was simpler than the others, and thus worked better. Lots of people are amazed at the detail - yet I find it easy because I am working with magnifiers.
Darren spent a lot of time with Linden, in academic discussion. Linden looked well, and we discussed how her departure from London Met was a cloud with a silver lining. About 6 months after she left, her Mum died, and she had been able to spend a lot more time caring for her Mum in the last weeks than she could have done if working full time.
It was interesting to see how different people engaged with the work. Some people engaged with the formats and were interested in the use of the sketchbook - large, small, unique shapes, contrast between bold shape and easily overlooked detailing that indicated skill. Others liked the narrative of the cleaning bottle drawings. Women liked the representation of ordinary women, and the profiling of the value of what specific women do.
Visitors interacted well with the message board. This resulted with some very interesting descriptors of women who were respected.
What went less well: 1. I forgot to get a box of business cards out.
2. I'd prepared a welcome speech, but once there were enough people to do an introductory speech, everyone was interacting with the work, and the assessor was concentrating on the work. I felt anxious about whether or not to call people to attention, but a lack of confidence made me be silent.
3. At about 6pm (once most of the visitors had gone), Katie told me that there was an exercise class starting at 7pm in my gallery space. At the time, I was exhausted, nodded, and decided that as everyone seemed to have left, and the dockside area was devoid of people, this would be ok. Yet, this means there is a double booking. On reflection, I had a conversation with one of the administrators (there was a change in staffing half way through my relationship with RAWLabs) that there was a yoga class, but that it could take place downstairs, which was what I asked them to do. But none of it was confirmed in writing. And I can't remember who I spoke to - Katie or the previous girl. This is where my limited exhibiting experience shows. Then she said there is a film viewing at 7pm on Saturday night, again in my gallery space, and they need a section of white wall to work on, and again I just nodded. This morning Darren said the viewing is at 8, which is when I've advertised the show to close, so no need to worry.
Going home I realised this is a problem. I've advertised the show until 8pm each night. If I'd known they needed to use the gallery space in the evening, I'd have restricted my opening times, and this would have reduced the amount of time I'd need to work the show. But I don't know who's planned to come in the evening to the show. So, the learning point is to be really clear with the gallery what opening times need to be advertised, before the advertising is published. Not sure what the solution is for tonight.
3. As everyone had left, I decided to go home early, as the venue said most exhibitors only staged and struck their shows - other exhibitors did not steward their shows. This was a poor quality decision. During our journey home, my cousin Elizabeth put a photo of my samplers on facebook. I'd missed her! And one of my samplers had fallen forward off the wall. The top fixings had given way. I felt awful having missed her. She'd made all the effort to go there, presumably after work and I'd missed her.
I've not managed the relationship with the gallery, with written expectations. I've gone home when I'm tired. Not good enough!
Darren and I travelled down by public transport. As we left Gallions Reach, we put up posters and direction arrows from the station to the venue, mostly on street furniture. I suspect other exhibitors had done this before us, because we could see the previous sellotape marks.
Our friends Bob and Marion were first to arrive, spot on midday when the venue opened (they were going on holiday later that day) and found the posters useful to find the venue. Jim arrived with my Aunt Doreen and cousin Allison, then my friend Liz from art class, and we all started with lunch in the cafe downstairs.
 |
| View from top of stairs (later adjusted to hang straight) |
Katie, the venue administrator/cafe operator, came upstairs and had a look at the work and was complimentary about the layout. This was somewhat a relief. When I've worked so continually at something, I get to the stage where I don't know whether it's any good or not.
It got to 2pm and no-one else had arrived and I was getting a little worried about when more people would arrive Then I saw people coming up the stairs ... and it was friends I had not seen for 30 years - who I knew when I went to church! I welcomed them, and then it seemed like a constant stream of people I knew, from church, Girls Brigade, university, former tutors, City Lit, poetry class, friends and family. I clocked the assessor arrive, when I was talking to a group, so I did not go to greet him then, as it felt rude to leave my friends, but by the time I could disengage, he was obviously engrossed. I felt it was rude not to engage with him (I definitely treated him differently to everyone else!) but my instructions were not to engage with him, and he was clearly assessing the work. Every piece of work was inspected really closely. So I left him to get on with it.
Some artists/academics who I REALLY respect were present. Caroline Bartlett, Linden Reilly and Vanda. OH-MY-WORD. The look on their faces said it all. I've finally got the staging right (!!!) and my work is carrying its message. It was so fantastic to see these brilliant people and the look on their faces. They were all taken with the last sampler, Manual Worker Woman, with the quality of the stitching, particularly the colour blending and very fine running stitch and industrial marks. I found this surprising as I was not particularly struck with it, and thought I had over-worked it. But Vanda said it was simpler than the others, and thus worked better. Lots of people are amazed at the detail - yet I find it easy because I am working with magnifiers.
Darren spent a lot of time with Linden, in academic discussion. Linden looked well, and we discussed how her departure from London Met was a cloud with a silver lining. About 6 months after she left, her Mum died, and she had been able to spend a lot more time caring for her Mum in the last weeks than she could have done if working full time.
It was interesting to see how different people engaged with the work. Some people engaged with the formats and were interested in the use of the sketchbook - large, small, unique shapes, contrast between bold shape and easily overlooked detailing that indicated skill. Others liked the narrative of the cleaning bottle drawings. Women liked the representation of ordinary women, and the profiling of the value of what specific women do.
Visitors interacted well with the message board. This resulted with some very interesting descriptors of women who were respected.
What went less well: 1. I forgot to get a box of business cards out.
2. I'd prepared a welcome speech, but once there were enough people to do an introductory speech, everyone was interacting with the work, and the assessor was concentrating on the work. I felt anxious about whether or not to call people to attention, but a lack of confidence made me be silent.
3. At about 6pm (once most of the visitors had gone), Katie told me that there was an exercise class starting at 7pm in my gallery space. At the time, I was exhausted, nodded, and decided that as everyone seemed to have left, and the dockside area was devoid of people, this would be ok. Yet, this means there is a double booking. On reflection, I had a conversation with one of the administrators (there was a change in staffing half way through my relationship with RAWLabs) that there was a yoga class, but that it could take place downstairs, which was what I asked them to do. But none of it was confirmed in writing. And I can't remember who I spoke to - Katie or the previous girl. This is where my limited exhibiting experience shows. Then she said there is a film viewing at 7pm on Saturday night, again in my gallery space, and they need a section of white wall to work on, and again I just nodded. This morning Darren said the viewing is at 8, which is when I've advertised the show to close, so no need to worry.
Going home I realised this is a problem. I've advertised the show until 8pm each night. If I'd known they needed to use the gallery space in the evening, I'd have restricted my opening times, and this would have reduced the amount of time I'd need to work the show. But I don't know who's planned to come in the evening to the show. So, the learning point is to be really clear with the gallery what opening times need to be advertised, before the advertising is published. Not sure what the solution is for tonight.
3. As everyone had left, I decided to go home early, as the venue said most exhibitors only staged and struck their shows - other exhibitors did not steward their shows. This was a poor quality decision. During our journey home, my cousin Elizabeth put a photo of my samplers on facebook. I'd missed her! And one of my samplers had fallen forward off the wall. The top fixings had given way. I felt awful having missed her. She'd made all the effort to go there, presumably after work and I'd missed her.
I've not managed the relationship with the gallery, with written expectations. I've gone home when I'm tired. Not good enough!
 |
| Ann, Liz, Vanda, Naomi and me |
 |
| Lindsey and Sharon, friends since age 7 |
 |
| George, from poetry class |
 |
| Allison, filling in card for message board |
 |
| Migrant Worker Woman, and Manual Worker Woman |
Darren here! Cathy has asked me to share some reflections on the first day.
I feel that the day was a resounding success and Cathy's tireless preparation paid off. In terms of footfall, the gallery space was occupied throughout the day and people really utilised the entire space in a positive way. The exhibition space was on a mezzanine and beneath it was a coffee shop. This allowed people to view the work and discuss it later, below (often resulting in people returning to the mezzanine floor to re-examine the work post-discussion).
People were apprehensive in their approach to the work, and I feel that the sketchbooks in particular would have benefited from being "played with" or handled more. Even with encouragement the viewers were not coming forward in touching the work. However, the notice board was received well and several individuals added their 'valuable woman' cards to the board showing a willingness to engage in some interactivity.
Between 14:00 and 16:00 the space was the busiest. This was time advertised for the private view, but the private view did not allow time for any introductions or speeches as when people entered the space they immediately engaged with the work. Cathy did well to read the room during this time and realised quickly that any speeches or more formal proceedings would have caused disruptions in people's viewing experience.
I feel that the day was a resounding success and Cathy's tireless preparation paid off. In terms of footfall, the gallery space was occupied throughout the day and people really utilised the entire space in a positive way. The exhibition space was on a mezzanine and beneath it was a coffee shop. This allowed people to view the work and discuss it later, below (often resulting in people returning to the mezzanine floor to re-examine the work post-discussion).
People were apprehensive in their approach to the work, and I feel that the sketchbooks in particular would have benefited from being "played with" or handled more. Even with encouragement the viewers were not coming forward in touching the work. However, the notice board was received well and several individuals added their 'valuable woman' cards to the board showing a willingness to engage in some interactivity.
Between 14:00 and 16:00 the space was the busiest. This was time advertised for the private view, but the private view did not allow time for any introductions or speeches as when people entered the space they immediately engaged with the work. Cathy did well to read the room during this time and realised quickly that any speeches or more formal proceedings would have caused disruptions in people's viewing experience.
Sunday 18 August 2019
Debbie Lyddon class at Wells Next The Sea
Oh My Word. What a great class.
Cherry was a fantastic host. We ate well, slept well, worked well.
We started with a sight walk, where we walked a short way along the riverfront, spent time looking at things far and close, and collected a small amount of appealing detritus. We had small hand-made sketchbooks in which to make brief visual notes of what we had seen.
With the detritus we collected, we pressed them into a slab of clay, pressed a bottomless yogurt pot over (like a pastry cutter), poured in plaster and left to set. When dry (2 hours?) we lifted off the yogurt pot, peeled off the clay, and had the most amazing relief plaster cast. I had deep relief - frayed rope; medium relief - offcut of string netting; and low relief - leaves. Astonishing detail.
We did a sound walk. This was eye-opening. We sat and listened to sounds on the riverfront. We made marks for the sounds. We considered what we heard; from what direction; moving or stationary. Other people; nature; mechanical; silences or pauses. Rhythms/patterns; high/low pitch, sound textures. Whispers, variations in volume; near/far. Cherry, Liz and I were only 20m apart but we came up with many different sounds, and all interpreted the sounds in different marks.
We went back to the studio, and experimented with ink/pencil/other media to try out ways of drawing our sounds. We picked 3, and drew them across a long strip of textured paper. My sounds were the clanking of ropes against metal masts; a seagull scream; the circular saw from a nearby boatyard. The clanking ropes were drawn by using the edge of a small notebook, dipped in Quink ink, and printed using only the edge of the page. Gave lovely irregular lines, looking like ropes hitting a mast. The Seagull scream was a bright orange upward moving line, repeating with the inflexion of the cry. The circular saw was painted with a manky brush, twisted to emulate the movement of the saw. My sounds were interpreted with use of gesture as well. Our test pages were used to cover greyboard for the covers. We made concertinas of our long page by folding in half, and repeatedly folding into the crease to get the exact position right. A tip was to hold the left hand page up at right angles to the table, and fold the righthand sheet into the previous fold. Easy when demonstrated.
We went out and drew the covers on dinghys to identify how the covers accommodated the mast and other extrusions. We looked at the eyelets, which inspire Debbie. She is interested in the protection from the elements, so covers, protective surfaces and weathering appeal to her. We painted linen, made iron eyelets and stitched them onto the cloth. Then tied them onto a pole on the quayside and left them for the tide to soak and rust them the next day. We waxed our cloth, and made them into little protective bags for our plaster casts.
Brilliant two days. I came away very inspired for my idea to be artist-in-residence at the gravel works. The soundscape could be fascinating to work up some sketchbooks. Also the idea about protection from the environment. What is used and how.
Cherry was a fantastic host. We ate well, slept well, worked well.
 |
| Liz and I visited Oxburgh Hall on the way up to Norfolk |
 |
| Liz and Cherry on the beach. |
 |
| Debbie's inspiring collection of detritus/artworks |
We started with a sight walk, where we walked a short way along the riverfront, spent time looking at things far and close, and collected a small amount of appealing detritus. We had small hand-made sketchbooks in which to make brief visual notes of what we had seen.
With the detritus we collected, we pressed them into a slab of clay, pressed a bottomless yogurt pot over (like a pastry cutter), poured in plaster and left to set. When dry (2 hours?) we lifted off the yogurt pot, peeled off the clay, and had the most amazing relief plaster cast. I had deep relief - frayed rope; medium relief - offcut of string netting; and low relief - leaves. Astonishing detail.
We did a sound walk. This was eye-opening. We sat and listened to sounds on the riverfront. We made marks for the sounds. We considered what we heard; from what direction; moving or stationary. Other people; nature; mechanical; silences or pauses. Rhythms/patterns; high/low pitch, sound textures. Whispers, variations in volume; near/far. Cherry, Liz and I were only 20m apart but we came up with many different sounds, and all interpreted the sounds in different marks.
We went back to the studio, and experimented with ink/pencil/other media to try out ways of drawing our sounds. We picked 3, and drew them across a long strip of textured paper. My sounds were the clanking of ropes against metal masts; a seagull scream; the circular saw from a nearby boatyard. The clanking ropes were drawn by using the edge of a small notebook, dipped in Quink ink, and printed using only the edge of the page. Gave lovely irregular lines, looking like ropes hitting a mast. The Seagull scream was a bright orange upward moving line, repeating with the inflexion of the cry. The circular saw was painted with a manky brush, twisted to emulate the movement of the saw. My sounds were interpreted with use of gesture as well. Our test pages were used to cover greyboard for the covers. We made concertinas of our long page by folding in half, and repeatedly folding into the crease to get the exact position right. A tip was to hold the left hand page up at right angles to the table, and fold the righthand sheet into the previous fold. Easy when demonstrated.
We went out and drew the covers on dinghys to identify how the covers accommodated the mast and other extrusions. We looked at the eyelets, which inspire Debbie. She is interested in the protection from the elements, so covers, protective surfaces and weathering appeal to her. We painted linen, made iron eyelets and stitched them onto the cloth. Then tied them onto a pole on the quayside and left them for the tide to soak and rust them the next day. We waxed our cloth, and made them into little protective bags for our plaster casts.
Brilliant two days. I came away very inspired for my idea to be artist-in-residence at the gravel works. The soundscape could be fascinating to work up some sketchbooks. Also the idea about protection from the environment. What is used and how.
 |
| Cherry's collection |
 |
| Liz's collection |
 |
| My collection |
Richard McVetis class at RAY-stitch
Wonderful class 2 x Thursday evening.. Richard is a really nice guy - kind, gentle, unassuming.
We did simple stitches. The first evening we did straight stitches. On the circle I did different weights - thin straight stitches of different lengths working in from the edge, and thicker cross hatching. Then whipped running stitch around the hexagon - I used fine loops on the whipping, and thick tightly pulled stitches. I also did kantha running stitch in blue across a circle. Finally that night I did the fine seeding that Richard specialises in, on the square.
We did simple stitches. The first evening we did straight stitches. On the circle I did different weights - thin straight stitches of different lengths working in from the edge, and thicker cross hatching. Then whipped running stitch around the hexagon - I used fine loops on the whipping, and thick tightly pulled stitches. I also did kantha running stitch in blue across a circle. Finally that night I did the fine seeding that Richard specialises in, on the square.
The second week, I stitched some finer stitches on the square, and refined my effect a bit. Then I couched a heavy thread around a square using reflective thread; blanket stitched from the inside and outside on the triangle, and used some contrasting weights of thread for the fly stitch. I also tried some horsehair to couch down with a fine thread, which gave an interesting effect.
Nothing I had not done before, but very, very enjoyable to revisit with a diverse bunch of stitchers - From youngsters just doing their class at the RA, all the way through to my age, mostly women with one man, and several saying they had found stitch helped them stay well during the mental turmoil of a demanding job. Hurrah!
Possible layout of gallery.
____________ ___ ________ ___ ______________ ___ _________
320cm 30cm 260cm. 30cm 330cm. 30cm. 260cm
plugs plugs plugs
1. templates + 2. Cleaning bottles 3. Samplers 4. message board
pay packets
| 5. |
| Cyanotypes | 160cm
| 2.40m _|
| |_ 50cm
________ 6. |
top of stairs | Caring hand of |
| Mother | 400cm
| Plinth |
| key fob Jacobean/ |
| Montenegrin |
| Plinth
| Payroll
|
| Ford Toilet cleaners Values Status
| Table Table Table Table
|____________________________________________________________
1. 320cm
Car seat templates
L 15 x 78cm
T 15 x 45cm
B 39 x 79cm
R 15 x 78 cm
Total - 80cm + space between + artist statement
Pay Packets
55 x 55cm
2. 260cm
Message Board. 1m square
3. 320cm
Samplers
5 times 33 x 99cm
Total - 165cm + space between + artist statement
4. 260cm
Cleaning Bottles
3 times 42 x 59 cm
28 x 59 cm
Total 154cm + space between + artist statement
5. 160cm
Cyanotypes
20 x 50cm
50 x 15cm
Total - 70cm + space between + artist statement
6. 400cm
The Caring Hand of Mother
12 x 50cm
24 x 50cm
24 x 50cm
10 x 18cm
17 x 37cm
Total 87cm + space between + artist statement
Thread sketchbook 17 x 24cm (not sure whether to include this)
Jacobean sampler
35 x 30cm
Montenegrin sampler
33 x 30cm + Artist statement
Total - 68cm
Subscribe to:
Posts (Atom)